ISBN: 9780195147186 - the avant-garde in interwar england : medieval modernism and the london underground (20 Ergebnisse)

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Zustand: New. Histories of English modernism usually emphasize the role played by the Bloomsbury Group in introducing and defining it, but Michael Saler's study argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid by the mediaeval modernists. Num Pages: 256 pages, 15 halftones. BIC Classification: ACX; HBJD1; HBWN; JFC. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 229 x 153 x 16. Weight in Grams: 408. . 2001. Paperback. . . . .…

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Zustand: New. Histories of English modernism usually emphasize the role played by the Bloomsbury Group in introducing and defining it, but Michael Saler's study argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid by the mediaeval modernists. Num Pages: 256 pages, 15 halftones. BIC Classification: ACX; HBJD1; HBWN; JFC. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 229 x 153 x 16. Weight in Grams: 408. . 2001. Paperback. . . . . Books ship from the US and Ireland.…

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Paperback. Zustand: new. Paperback. The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the otherwere England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in thisfascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public.Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medievalmodernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and othernineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design.This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work ofFrank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts withtwentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement? What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art? And was medieval modernism itself a movement of pioneers or dreamers?In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history. This book addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England from 1910 to 1939. Author Saler demonstrates that modernism was associated in England with medievalism, and also thought to have social, economic, and spiritual benefits for the nation. This item is printed on demand. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Paperback. Zustand: new. Paperback. The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the otherwere England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in thisfascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public.Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medievalmodernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and othernineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design.This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work ofFrank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts withtwentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement? What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art? And was medieval modernism itself a movement of pioneers or dreamers?In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history. This book addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England from 1910 to 1939. Author Saler demonstrates that modernism was associated in England with medievalism, and also thought to have social, economic, and spiritual benefits for the nation. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

Paperback. Zustand: new. Paperback. The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the otherwere England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in thisfascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public.Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medievalmodernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and othernineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design.This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work ofFrank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts withtwentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement? What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art? And was medieval modernism itself a movement of pioneers or dreamers?In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history. This book addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England from 1910 to 1939. Author Saler demonstrates that modernism was associated in England with medievalism, and also thought to have social, economic, and spiritual benefits for the nation. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Kartoniert / Broschiert. Zustand: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Histories of English modernism usually emphasize the role played by the Bloomsbury Group in introducing and defining it, but Michael Saler s study argues that, during the watershed years between the World Wars, modern art was most often understood in the te. …

Zustand: New. Print on Demand pp. 260.

Taschenbuch. Zustand: Neu. The Avant-Garde in Interwar England | Medieval Modernism and the London Underground | Michael T. Saler | Taschenbuch | Kartoniert / Broschiert | Englisch | 2001 | Oxford University Press | EAN 9780195147186 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand. …

Taschenbuch. Zustand: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the other were England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in this fascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public.Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medieval modernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and other nineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design.This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work of Frank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts with twentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art And was medieval modernism itself a movement of pioneers or dreamers In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history.…

Zustand: New. Print on Demand pp. 260 2:B&W 6 x 9 in or 229 x 152 mm Perfect Bound on Creme w/Gloss Lam.

Zustand: New. PRINT ON DEMAND pp. 260.